Provenance

Jack Shainman Gallery

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The sculpture depicts the continents of North America and Africa, where Africa has taken the place of South America. These continents are crafted from a reflective, metallic material, and the polished surface of the sculpture reflects light and the surrounding environment. The sculpture is mounted flat against a white wall.
Hank Willis Thomas, A Place to Call Home (Africa America Reflection), 2020, stainless steel with mirrored finish, Firestone Contemporary Art Acquisition Fund, © Hank Willis Thomas. Courtesy of the Artist and Jack Shainman Gallery, New York, © Hank Willis Thomas. Courtesy of the Artist and Jack Shainman Gallery, New York, 2022.5.1

A Place to Call Home (Africa America Reflection)

Hank Willis Thomas · 2020 · stainless steel with mirrored finish ·  Accession ID  2022.5.1

Diedrick Brackens, the forks in the creek, 2023, cotton and acrylic yarn, New Century Fund and Eugene L. and Marie-Louise Garbáty Fund, © Diedrick Brackens, Courtesy of the artist, Jack Shainman Gallery, New York and Various Small Fires, Los Angeles. , 2024.139.1

the forks in the creek

Diedrick Brackens · 2023 · cotton and acrylic yarn ·  Accession ID  2024.139.1

The image features a man standing upright in a full-body shot. He is looking towards the camera and is dressed in a white coat, pants, and shoes. He is wearing a hat and a cross pendant around his neck. He is holding a briefcase in his left hand. The background shows a stone wall exterior with a ribbed glass panel next to him, indicating that the setting is outdoors.
Barkley L. Hendricks, Dr. Kool, Philadelphia, 1972, gelatin silver print, Alfred H. Moses and Fern M. Schad Fund, 2023.171.1

Dr. Kool, Philadelphia

Barkley L. Hendricks · 1972 · gelatin silver print ·  Accession ID  2023.171.1

Barkley L. Hendricks, Self-Portrait with Red Sweater, 1980, printed 2023, chromogenic print, Alfred H. Moses and Fern M. Schad Fund, 2023.171.2

Self-Portrait with Red Sweater

Barkley L. Hendricks · 1980, printed 2023 · chromogenic print ·  Accession ID  2023.171.2

Carrie Mae Weems, Untitled, 1996, printed 2020, 7 inkjet prints with sandblasted text on glass in wood frames, Patrons' Permanent Fund, 2020.96.1.a-g

Untitled

Carrie Mae Weems · 1996, printed 2020 · 7 inkjet prints with sandblasted text on glass in wood frames ·  Accession ID  2020.96.1.a-g

The image shows the entrance of a small store. On the left side is a blank form with handwritten text in fields like 'Location' and 'Notes.' The right side features a circular black and white photograph of the store's glass entrance door. Stickers on the door include 'No Smoking,' payment options, and meal deals. There is a metal handle for pushing the door, and the background shows a bright outdoor setting. The image is framed in a simple black border, contrasting the written and visual elements.
Deborah Luster, Tooth for an Eye: A Chorography of Violence in Orleans Parish #04-23, 2008-2011, gelatin silver print, R. K. Mellon Family Foundation, 2015.60.1

Tooth for an Eye: A Chorography of Violence in Orleans Parish #04-23

Deborah Luster · 2008-2011 · gelatin silver print ·  Accession ID  2015.60.1

Four people with black skin are squeezed into a narrow boat on bright, turquoise-colored water that nearly fills this stylized, square painting. All four sides of the unstretched canvas are lined with six gromets spaced along each edge. The boat approaches a carnival-like tunnel near the upper right corner. Cartoon ghosts loom at the tunnel entrance and a translucent, veil-like ghost hovers over the left half of the painting. The horizon comes almost to the top of the canvas, where white clouds float against an azure-blue sky. A long, lemon-yellow line curls back and forth in a tight, curving zigzag pattern that widens out from a tiny sun setting on the horizon. A red cross on a white field floats near the upper left. At the top center, the word “WOW” appears in white letters within a crimson-red, bursting speech bubble with long trailing tendrils, like an exploded firework. Below the boat and against the water to our right, the word “FUN” has been overlaid with a white square so the tall, white letters are barely visible. The words “GREAT AMERICA” appear in a curling banner across the bottom half of the painting.
Kerry James Marshall, Great America, 1994, acrylic and collage on canvas, Gift of the Collectors Committee, 2011.20.1

Great America

Kerry James Marshall · 1994 · acrylic and collage on canvas ·  Accession ID  2011.20.1

The image shows two men, one sitting on the hood of a car and the other standing next to it. The seated man has one knee bent with his hands resting on it and the car, looking towards the camera. The standing man is leaning against the car with one hand on the vehicle and the other on his hip, wearing a relaxed expression. Both men wear checkered shirts, with the standing man in light-colored pants and the seated man in darker pants. The car appears classic, set in a dark environment with tree foliage in the background. A decorative border with abstract and colorful elements frames the image.
Malick Sidibé, Les Beatles Bayada Di, 1966/2004, printed 2008, gelatin silver print, glass, paint, cardboard, tape, string, Scott Nathan and Laura DeBonis Fund, 2018.103.3

Les Beatles Bayada Di

Malick Sidibé · 1966/2004, printed 2008 · gelatin silver print, glass, paint, cardboard, tape, string ·  Accession ID  2018.103.3

Carrie Mae Weems, After Manet, 2002, printed 2015, chromogenic print, Alfred H. Moses and Fern M. Schad Fund, 2015.75.1

After Manet

Carrie Mae Weems · 2002, printed 2015 · chromogenic print ·  Accession ID  2015.75.1

The image shows a collection of seventeen framed photographs of people in various poses. The photographs are arranged in uneven rows with some wide areas of space between them. Most of the photographs have different colorful tints, including blue, green, and purple, while some are in full color. The photographs appear to be mostly of Black women speaking, dancing, singing, or otherwise performing. The women are in a variety of clothing, including formal dresses and coats, casual outfits, and intricate costumes. Some of the photographs are close-ups of these women, while others are wider. Many of them appear blurry. The framed photographs hang against a white background.
Carrie Mae Weems, Slow Fade to Black II, 2010, 17 inkjet prints, Alfred H. Moses and Fern M. Schad Fund, 2014.84.1.a-q

Slow Fade to Black II

Carrie Mae Weems · 2010 · 17 inkjet prints ·  Accession ID  2014.84.1.a-q